DOCSLIB.ORG

Roman Archaism in Depictions of Apollo in the Augustan Period

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Roman Archaism in Depictions of Apollo in the Augustan Period Bowling Green State University ScholarWorks@BGSU Honors Projects Honors College Spring 5-2-2016 Roman Archaism in Depictions of Apollo in the Augustan Period Alisha Sanders [email protected] Follow this and additional works at: https://scholarworks.bgsu.edu/honorsprojects Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Classical Archaeology and Art History Commons, Political History Commons, Sculpture Commons, and the Social History Commons Repository Citation Sanders, Alisha, "Roman Archaism in Depictions of Apollo in the Augustan Period" (2016). Honors Projects. 281. https://scholarworks.bgsu.edu/honorsprojects/281 This work is brought to you for free and open access by the Honors College at ScholarWorks@BGSU. It has been accepted for inclusion in Honors Projects by an authorized administrator of ScholarWorks@BGSU. ROMAN ARCHAISM IN DEPICTIONS OF APOLLO IN THE AUGUSTAN PERIOD ALISHA SANDERS HONORS PROJECT Submitted to the University Honors Program at Bowling Green State University in partial fulfillment of the requirements for graduation with UNIVERSITY HONORS 2 MAY 2016 Dr. Sean V. Leatherbury, School of Art, Art History Division, Advisor Dr. Heath A. Diehl, Department of English & Honors College, Advisor Sanders 2 Abstract: At the end of the first century BCE, the Roman Empire was being established, and Augustus Caesar was taking sole power of the Roman world. In order to spread the values and concepts that he wanted to perpetuate in the new political order, he revived an archaistic art style based on that of the archaic period of ancient Greece. This study is focused on works that include depictions of Apollo because one of the first and most studied examples of Augustus’s use of Roman archaism was the decorative program of the Temple of Apollo on the Palatine. Apollo is an especially significant figure to consider in a study on a revival of a Greek style because he was originally a Greek god that was absorbed into the Roman pantheon, just as some of the stylistic elements from archaic Greek works had been appropriated into Roman artwork to create Roman archaism. Augustus also considered Apollo as an ancestor and used Apollo to rally support during the Battle of Actium in 31 BCE. By looking at some of the works of Roman archaism created in the time period of Augustus’s rule that depict Apollo, this paper argues that there is a connection between certain ideals Augustus attempted to promote to the Roman people and the archaistic style. The ideals being emphasized included a restoration of religious piety, a subtle reminder of military power, a grounded history for the royal family, and a new youthful ideal for depictions of Roman people. Key Terms: Roman Empire Augustus Family Style Archaism Piety Art Youth Apollo Military Sanders 3 In the field of art history, the time period surrounding the appearance of the first emperor of the Roman Empire is an engaging one in regards to art and artistic development. The political structure of Rome was changing from a republic to an empire, civil wars were rampant as various military generals used the support of their troops to gain power by force, and prominent politicians, such as Julius Caesar, were being assassinated. In terms of political structure, a large group of senators were the primary leaders of the Roman Republic, and every male Roman citizen had a say in politics by electing members of assemblies, which in turn elected magistrates (Mouritsen 2001). On the other hand, a singular figure, Augustus Caesar, dominated the beginning of the Roman Empire and held all the main positions of power in Rome. During this tumultuous time, the ideas that were expressed to the Roman people through art were changing in order to reinforce the new political order. For Paul Zanker (1998), a prominent scholar in the study of Augustan art, the “cultural program” that Augustus was instating “was nothing less than a complete moral revival” that “required a new visual language” (2-3). This “cultural program” makes early imperial art especially suitable for stimulating art historical thought as this art established some of the core values and concepts that the Empire was being built upon, including a restoration of Roman religion and an emphasis on the importance of family. In general, new rulers occasionally use distinctive artistic styles in order to create a new artistic tradition that emphasizes their political message (Kellum 1985, 169). For Augustus, the successful transitioning of Rome from a republic to an empire required artistic and stylistic choices by him and other patrons for art and architecture that reflected some of the values and concepts that he wanted to perpetuate in the new political order that was underway at the end of the first century BCE. This paper will be studying a very specific style—an archaistic style—that was consciously revived at the beginning of the Roman Empire during the lifetime of Augustus. Sanders 4 The archaistic style that will be discussed will be referred to as Roman archaism. This style is based on that of the archaic period of ancient Greece, which is considered by modern art historians to have lasted from 800-480 BCE. The naming of this period is based on the Greek word αρχή, “arche,” meaning origin or beginning. This was not the actual beginning of Greek art, but recognizable figural work began to be common in this period. While there was certainly artistic variety within the time frame of archaic Greece, figural works in sculpture tended to have some defining characteristics, such as a stiff and frontal pose, an “Archaic smile,” plated hair, and dovetail drapery. This is especially true for kouroi and korai figures, which were figures of young men and women that were used as votive figures and grave markers during the archaic period of ancient Greece. One such kore figure from the Athenian Acropolis [Figure 1] shows the typical stylistic features of an archaic Greek work. Her posture is stiff, her pose frontal, her hair is styled in long spiral plaits that reach mid-torso; she has an “Archaic smile”—a slight upturning of the mouth that creates a serene expression on the faces of many figures—and the edges of her clothing create zigzagging dovetail drapery. Artists employed this dovetail drapery mostly on depictions of females; males were depicted nude as per Greek conventions. Archaism refers to the style of any piece created after 480 BCE that still retains elements of the archaic Greek style—stiff postures, dovetail drapery, and an “Archaic smile” among others. It is an archaistic style rather than simply an archaic one because it combined the older archaic elements in new ways to create a unique Roman style. Mark Fullerton (1990), a Professor in the Department of Classics at The Ohio State University, suggests that a Classical era statue of Hekate Epipyrgidia made by Alkamene, a marble sculptor, in the fifth century BCE was one of the first examples of an archaistic work. Copies of this work [Figure 2] were made earlier than Augustus’s time in the Hellenistic period of ancient Rome from 323-31 BCE. Sanders 5 For the Romans, the appropriation of Greek style “implied a self-conscious set of aesthetic choices” (Elsner 2003, 6). For Augustus, an archaistic style was not by itself appealing, but its use as a “form for particular contemporary themes and contents” was (Hölscher 2006, 250). So, aesthetic choices such as Roman archaism were made deliberately with specific uses and themes in mind. While the Romans appropriated Greek artwork in many ways—copying statues, importing artwork and architectural elements, looting Greek sites, etc.—only the archaistic style frequently used under Augustus will be discussed here. He revitalized an archaistic style based on ancient Greek models, raising the question of what his reasons might have been for doing so. For Maria Strazzula (1990), the author of the principle book about the terracotta reliefs at the Temple of Apollo to be discussed later, this Augustan archaism “is a very special phenomenon, extremely limited in time and destined to never happen again” in Roman history; “it is taken up in an original vision, shaping it to [patrons’] needs” (128). While art historians may never know for sure what Augustus’s reasons were for reviving Roman archaism, there does seem to be a connection between the style and Augustus’s politics of the time. As a style, Roman archaism seems to have been used more often in the early Roman Empire than in the Roman Republic perhaps due to some of the ideals that Augustus wanted to convey to the Roman people. By looking at some of the works of Roman archaism created in the time period of Augustus’s rule, this paper suggests that style can be used as a starting point for a focused analysis of the ideals being emphasized in the works, which included a restoration of religious piety, a reminder of military power, a grounded history for the royal family, and a new youthful ideal for depictions of Roman people. Sanders 6 In Defense of Stylistic Analysis The basis of this research project on Roman archaism is stylistic analysis. Stylistic analysis—that is, studying artworks in groupings based primarily on similar visual characteristics—has been at the center of increased debate within the field of art history in recent years. Most art historians, such as Jaś Elsner (2003), a British art historian and classicist, and Svetlana Alpers (1987), a former professor of History of Art at University of California, Berkeley, acknowledge that style has been a prominent method of analysis, but they also identify various problems that stylistic analysis as a methodology has.
Load more

Recommended publications
  • Ancient Religions: Public Worship of the Greeks and Romans by E.M
    Ancient Religions: Public worship of the Greeks and Romans By E.M. Berens, adapted by Newsela staff on 10.07.16 Word Count 1,250 Level 1190L TOP: The temple and oracle of Apollo, called the Didymaion in Didyma, an ancient Greek sanctuary on the coast of Ionia (now Turkey), Wikimedia Commons. MIDDLE: The copper statue of Zeus of Artemision in the National Archaeological Museum, Athens, Greece. BOTTOM: Engraving shows the Oracle of Delphi, bathed in shaft of light atop a pedestal and surrounded by cloaked figures, Delphi, Greece. Getty Images. Temples Long ago, the Greeks had no shrines or sanctuaries for public worship. They performed their devotions beneath the vast and boundless canopy of heaven, in the great temple of nature itself. Believing that their gods lived above in the clouds, worshippers naturally searched for the highest available points to place themselves in the closest communion possible with their gods. Therefore, the summits of high mountains were selected for devotional purposes. The inconvenience of worshipping outdoors gradually suggested the idea of building temples that would offer shelter from bad weather. These first temples were of the most simple form, without decoration. As the Greeks became a wealthy and powerful people, temples were built and adorned with great splendor and magnificence. So massively were they constructed that some of them have withstood the ravages of This article is available at 5 reading levels at https://newsela.com. time. The city of Athens especially contains numerous remains of these buildings of antiquity. These ruins are most valuable since they are sufficiently complete to enable archaeologists to study the plan and character of the original structures.
    [Show full text]
  • Liquids in Temple Ritual
    UCLA UCLA Encyclopedia of Egyptology Title Liquids in Temple Ritual Permalink https://escholarship.org/uc/item/7gh1n151 Journal UCLA Encyclopedia of Egyptology, 1(1) Author Poo, Mu-Chou Publication Date 2010-09-25 Peer reviewed eScholarship.org Powered by the California Digital Library University of California LIQUIDS IN TEMPLE RITUAL السوائل بطقوس المعابد Mu-chou Poo EDITORS WILLEKE WENDRICH Editor-in-Chief Area Editor Material Culture University of California, Los Angeles JACCO DIELEMAN Editor University of California, Los Angeles ELIZABETH FROOD Editor University of Oxford JOHN BAINES Senior Editorial Consultant University of Oxford Short Citation: Poo 2010, Liquids in Temple Ritual. UEE. Full Citation: Poo, Mu-chou, 2010, Liquids in Temple Ritual. In Willeke Wendrich (ed.), UCLA Encyclopedia of Egyptology, Los Angeles. http://digital2.library.ucla.edu/viewItem.do?ark=21198/zz0025dxbr 1088 Version 1, September 2010 http://digital2.library.ucla.edu/viewItem.do?ark=21198/zz0025dxbr LIQUIDS IN TEMPLE RITUAL السوائل بطقوس المعابد Mu-chou Poo Flüssigkeiten im Tempelritual Les liquides utilisés dans les rituels du temple In ancient Egypt the liquids most commonly used in temple rituals included wine, beer, milk, and water. The meaning of the ritual act was intimately related to the nature of the liquid employed, as well as to whatever religious and mythological associations the liquid was known to possess. With the exception of beer, all the ritual offerings of liquids were connected in some way with the idea of rejuvenation. كانت أكثر السوائل المستخدمة بالطقوس بالمعابد ھي النبيذ والجعة والحليب والماء، فكان مغزى الطقسه مرتبط بطبيعة السائل المستخدم وأيضاً متعلق باﻹرتباطات الدينية واﻷسطورية المعروفة عن ھذا السائل.
    [Show full text]
  • IMPERIAL EXEMPLA Military Prowess, Or Virtus, Is but One Quality That
    CHAPTER FOUR IMPERIAL EXEMPLA Military prowess, or virtus, is but one quality that characterized an efffec- tive emperor. Ideally, a ‘good’ emperor was not just a competent general but also displayed other virtues. These imperial virtutes were propagated throughout the Roman Empire by means of imperial panegyric, decrees, inscriptions, biographies, and coins.1 On coinage in particular, juxtaposi- tions of AVG or AVGG with the virtue and/or the imperial portrait on the obverse would connect the virtues mentioned on the reverses directly with the emperor(s). Not all emperors emphasized the same virtues on their coinage. For example, Elagabalus seems not to have felt the need to stress virtus, whereas his successor Severus Alexander did try to convince the Roman people of his military prowess by propagating it on his coins. The presence or absence of particular virtues on coins issued by diffferent emperors brings us to the question as to whether an imperial canon of virtues existed. But before elaborating on this, the concept ‘virtue’ must be clarifijied.2 Modern scholars investigating imperial virtues on coinage consider vir- tues to be personifijications with divine power – in other words, deifijied abstractions or, as Fears puts it, ‘specifijic impersonal numina’.3 For many, the terms ‘personifijication’ and ‘virtue’ are interchangeable.4 Indeed, vir- tues can be considered personifijications. Yet, not all personifijications are 1 Noreña, “The communication of the emperor’s virtues”, p. 153. 2 ‘But if one is to compare coins with other sources, particularly philosopically inspired ones (i.e. in talking of the virtues of the ideal statesman) it is vital to distinguish what is a virtue and what is not’, A.
    [Show full text]
  • Political Crisis in Rhetorical Exercises of the Early Roman Empire Shunichiro Yoshida the University of Tokyo
    ISSN: 2519-1268 Issue 2 (Spring 2017), pp. 39-50 DOI: 10.6667/interface.2.2017.34 Political Crisis in Rhetorical Exercises of the Early Roman Empire SHUNICHIRO YOSHIDA The University of Tokyo Abstract The ancient Romans experienced a great political crisis in the first century B. C. They fought many civil wars, which ended the republic and led to the establishment of the empire. The nature of these civil wars and the new regime was a politically very sensitive question for the next generation and could not be treated in a direct manner. In this paper I shall examine how literature in this age dealt with this sensitive problem. Special attention will be paid on declamations (rhetorical exercises on fictitious themes), which discussed repeatedly themes concerned with political crises such as domestic discord or rule of a tyrant. Keywords: Latin Oratory, Rhetorical Training, Early Roman Empire, Roman Politics © 2017 Shunichiro Yoshida This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. http://interface.ntu.edu.tw/ 39 Political Crisis in Rhetorical Exercises of the Early Roman Empire 1. Politics in Rome in the 1st Century B.C. Rome experienced its greatest political change in the 1st century B.C. Since the latter half of the previous century, its Republican system, which was established in the late 6th century B.C. according to the tradition, proved to contain serious problems. This led to repeated fierce civil wars in Rome. In the middle of the 1st century B.C., Caesar fought against Pompey and other members of the senatorial nobility who tried to defend the traditional system and defeated them completely.
    [Show full text]
  • Curriculum Vitae for WM Murray
    William M. Murray Page 1 Curriculum Vitae WILLIAM M. MURRAY Mary and Gus Stathis Endowed Assoc. Prof. of Greek History Executive Director, Interdisciplinary Center for Hellenic Studies University of South Florida 4202 E Fowler Ave., SOC 107, Tampa, FL 33620-8100 [email protected] __________ EDUCATION 1970-74: B.A. (with highest distinction, ΦBK) in History, The Pennsylvania State University. 1973: Summer Session II, American School of Classical Studies at Athens, Greece. 1978-80: Regular Member and Vanderpool Fellow, American School of Classical Studies at Athens, Greece. 1974-82: Ph.D. in Ancient History, University of Pennsylvania (Doctoral Dissertation: The Coastal Sites of Western Akarnania: A Topographical-Historical Survey; Readers: A.J. Graham, N.G.L. Hammond, J.D. Muhly). __________ TEACHING/RESEARCH APPOINTMENTS Lecturer, University of Pennsylvania: 1977, 1981-82. Assistant Professor, University of South Florida: 1982-86. Gertrude Smith Professor (Director of Summer Session), American School of Classical Studies at Athens: 1986. Associate Professor, University of South Florida: 1987-present. Whitehead Visiting Professor, American School of Classical Studies at Athens: 1995-96. Maurice Hatter Distinguished Visiting Professor, University of Haifa: 1997 (summer). Mary and Gus Stathis Endowed Associate Professor of Greek History: 2000 to present. __________ AREAS OF SPECIALIZATION Greek History and Archaeology, the History and Archaeology of Northwestern Greece, Ancient Greek and Roman Naval History, Ancient Seafaring, Nautical Archaeology. __________ PUBLICATIONS: Monographs and Major Research Tools 1. Octavian's Campsite Memorial for the Actian War, Vol. 79, part 4 of Transactions of the American Philosophical Society (Philadelphia, 1989). 2. "Epirus-Acarnania," in R.J.A.
    [Show full text]
  • The Cambridge Companion to Greek Mythology (2007)
    P1: JzG 9780521845205pre CUFX147/Woodard 978 0521845205 Printer: cupusbw July 28, 2007 1:25 The Cambridge Companion to GREEK MYTHOLOGY S The Cambridge Companion to Greek Mythology presents a comprehensive and integrated treatment of ancient Greek mythic tradition. Divided into three sections, the work consists of sixteen original articles authored by an ensemble of some of the world’s most distinguished scholars of classical mythology. Part I provides readers with an examination of the forms and uses of myth in Greek oral and written literature from the epic poetry of the eighth century BC to the mythographic catalogs of the early centuries AD. Part II looks at the relationship between myth, religion, art, and politics among the Greeks and at the Roman appropriation of Greek mythic tradition. The reception of Greek myth from the Middle Ages to modernity, in literature, feminist scholarship, and cinema, rounds out the work in Part III. The Cambridge Companion to Greek Mythology is a unique resource that will be of interest and value not only to undergraduate and graduate students and professional scholars, but also to anyone interested in the myths of the ancient Greeks and their impact on western tradition. Roger D. Woodard is the Andrew V.V.Raymond Professor of the Clas- sics and Professor of Linguistics at the University of Buffalo (The State University of New York).He has taught in the United States and Europe and is the author of a number of books on myth and ancient civiliza- tion, most recently Indo-European Sacred Space: Vedic and Roman Cult. Dr.
    [Show full text]
  • Thought and Practice in Mahayana Buddhism in India (1St Century B.C. to 6Th Century A.D.)
    International Journal of Humanities and Social Sciences. ISSN 2250-3226 Volume 7, Number 2 (2017), pp. 149-152 © Research India Publications http://www.ripublication.com Thought and Practice in Mahayana Buddhism in India (1st Century B.C. to 6th Century A.D.) Vaishali Bhagwatkar Barkatullah Vishwavidyalaya, Bhopal (M.P.) India Abstract Buddhism is a world religion, which arose in and around the ancient Kingdom of Magadha (now in Bihar, India), and is based on the teachings of Siddhartha Gautama who was deemed a "Buddha" ("Awakened One"). Buddhism spread outside of Magadha starting in the Buddha's lifetime. With the reign of the Buddhist Mauryan Emperor Ashoka, the Buddhist community split into two branches: the Mahasaṃghika and the Sthaviravada, each of which spread throughout India and split into numerous sub-sects. In modern times, two major branches of Buddhism exist: the Theravada in Sri Lanka and Southeast Asia, and the Mahayana throughout the Himalayas and East Asia. INTRODUCTION Buddhism remains the primary or a major religion in the Himalayan areas such as Sikkim, Ladakh, Arunachal Pradesh, the Darjeeling hills in West Bengal, and the Lahaul and Spiti areas of upper Himachal Pradesh. Remains have also been found in Andhra Pradesh, the origin of Mahayana Buddhism. Buddhism has been reemerging in India since the past century, due to its adoption by many Indian intellectuals, the migration of Buddhist Tibetan exiles, and the mass conversion of hundreds of thousands of Hindu Dalits. According to the 2001 census, Buddhists make up 0.8% of India's population, or 7.95 million individuals. Buddha was born in Lumbini, in Nepal, to a Kapilvastu King of the Shakya Kingdom named Suddhodana.
    [Show full text]
  • Ancient Rome
    Ancient Rome William E. Dunstan ROWMAN & LITTLEFIELD PUBLISHERS, INC. Lanham • Boulder • New York • Toronto • Plymouth, UK ................. 17856$ $$FM 09-09-10 09:17:21 PS PAGE iii Published by Rowman & Littlefield Publishers, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 http://www.rowmanlittlefield.com Estover Road, Plymouth PL6 7PY, United Kingdom Copyright ᭧ 2011 by Rowman & Littlefield Publishers, Inc. All maps by Bill Nelson. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. The cover image shows a marble bust of the nymph Clytie; for more information, see figure 22.17 on p. 370. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Dunstan, William E. Ancient Rome / William E. Dunstan. p. cm. Includes bibliographical references and index. ISBN 978-0-7425-6832-7 (cloth : alk. paper) ISBN 978-0-7425-6833-4 (pbk. : alk. paper) ISBN 978-0-7425-6834-1 (electronic) 1. Rome—Civilization. 2. Rome—History—Empire, 30 B.C.–476 A.D. 3. Rome—Politics and government—30 B.C.–476 A.D. I. Title. DG77.D86 2010 937Ј.06—dc22 2010016225 ⅜ϱ ீThe paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/ NISO Z39.48–1992. Printed in the United States of America ................
    [Show full text]
  • 9780748668502 the Queen Of
    The Queen of Sheba’s Gift Edinburgh Studies in Classical Islamic History and Culture Series Editor: Carole Hillenbrand A particular feature of medieval Islamic civilisation was its wide horizons. The Muslims fell heir not only to the Graeco-Roman world of the Mediterranean, but also to that of the ancient Near East, to the empires of Assyria, Babylon and the Persians; and beyond that, they were in frequent contact with India and China to the east and with black Africa to the south. This intellectual openness can be sensed in many interrelated fields of Muslim thought, and it impacted powerfully on trade and on the networks that made it possible. Books in this series reflect this openness and cover a wide range of topics, periods and geographical areas. Titles in the series include: Arabian Drugs in Early Medieval Defining Anthropomorphism Mediterranean Medicine Livnat Holtzman Zohar Amar and Efraim Lev Making Mongol History Towards a History of Libraries in Yemen Stefan Kamola Hassan Ansari and Sabine Schmidtke Lyrics of Life The Abbasid Caliphate of Cairo, 1261–1517 Fatemeh Keshavarz Mustafa Banister Art, Allegory and The Rise of Shiism In Iran, The Medieval Western Maghrib 1487–1565 Amira K. Bennison Chad Kia Christian Monastic Life in Early Islam The Administration of Justice in Bradley Bowman Medieval Egypt Keeping the Peace in Premodern Islam Yaacov Lev Malika Dekkiche The Queen of Sheba’s Gift Queens, Concubines and Eunuchs in Marcus Milwright Medieval Islam Ruling from a Red Canopy Taef El-Azhari Colin P. Mitchell Islamic Political
    [Show full text]
  • Chthonic Aspects of Macdonald's Phantastes: from the Rising of The
    Chthonic Aspects of MacDonald’s Phantastes: From the Rising of the Goddess to the Anodos of Anodos Fernando Soto The Herios was a woman’s festival. Plutarch of course could not be present at the secret ceremonies of the Thyaiades, but his friend Thyia, their president, would tell him all a man might know . From the rites known to him he promptly conjectured that it was a “Bringing up of Semele.” Semele, it is acknowledged, is but a Thraco-Phrygian form of Gaia, The “Bringing up of Semele” is but the Anodos of Gala or of Kore the Earth Maiden. It is the Return of the vegetation or Year-Spirit in the spring. (Jane Harrison, Themis 416) 1. Introduction and General Backgrounds hantastes is one of the most mysterious books George MacDonald wrote andP one of the least understood books in the English tradition. Since its publication in 1858, reviewers, readers and researchers have experienced great difficulties understanding the meaning of this complex work.The perceived impediments have been so great that some scholars remain unsure whether Phantastes contains a coherent plot or structure (Reis 87, 89, 93-94; Robb 85, 97; etc.). Other critics appear adamant that it contains neither (Wolff 50; Manlove, Modern 55, 71, 77, 79; England 65, 93, 122). Even those scholars who sense a structure or perceive a plot differ not only regarding the types of structure(s) and/or plot(s) they acknowledge (Docherty 17-22; McGillis “Community” 51-63; Gunther “First Two” 32-42), but in deciding into what, if any, genres or traditions Phantastes belongs (Prickett, “Bildungsroman” 109-23; Docherty 19, 23, 30, McGillis, “Femininity” 31-45; etc.).
    [Show full text]
  • The Communication of the Emperor's Virtues Author(S): Carlos F
    The Communication of the Emperor's Virtues Author(s): Carlos F. Noreña Reviewed work(s): Source: The Journal of Roman Studies, Vol. 91 (2001), pp. 146-168 Published by: Society for the Promotion of Roman Studies Stable URL: http://www.jstor.org/stable/3184774 . Accessed: 01/09/2012 16:45 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Society for the Promotion of Roman Studies is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Roman Studies. http://www.jstor.org THE COMMUNICATION OF THE EMPEROR'S VIRTUES* By CARLOS F. NORENA The Roman emperor served a number of functions within the Roman state. The emperor's public image reflected this diversity. Triumphal processions and imposing state monuments such as Trajan's Column or the Arch of Septimius Severus celebrated the military exploits and martial glory of the emperor. Distributions of grain and coin, public buildings, and spectacle entertainments in the city of Rome all advertised the emperor's patronage of the urban plebs, while imperial rescripts posted in every corner of the Empire stood as so many witnesses to the emperor's conscientious administration of law and justice.
    [Show full text]
  • University of Pretoria an INVESTIGATION for POSSIBLE PARALLELS of the ROMAN IMPERIAL CULT (CAESAR-NERO) in the NEW TESTAMENT B
    University of Pretoria AN INVESTIGATION FOR POSSIBLE PARALLELS OF THE ROMAN IMPERIAL CULT (CAESAR-NERO) IN THE NEW TESTAMENT BOOK OF HEBREWS Masters Thesis Presented in Partial Fulfillment of the Requirements for the degree of Masters of Theology New Testament Studies by Ryan D. Chivington October 2006 Summary This thesis is an investigation of possible significant parallels of the Roman imperial cult (Caesar-Nero) in the book of Hebrews. The book of Hebrews was no doubt greatly impacted by Jewish influence, context, and background. Yet there may be other significant influences that have formed the New Testament book of Hebrews. One such possible influence to the book of Hebrews is the Roman Empire, and more specifically, the Roman imperial cult, the worship of living Roman emperors in god- like terms and the deification of dead emperors. The writer of Hebrews may have used language, forms, and images of the Roman ruler cult to contrast, compare, or clarify their theology and interpretation of Jesus and God. There is the possibility of correspondences between worship of the Roman emperors and the book of Hebrews. Are there significant parallels of the worship of the Caesars to God in the book of Hebrews? Did the writer of Hebrews use illusions, motifs, and images of the Roman emperor cult in parallel to Jesus Christ? Is the Roman imperial cult influence portrayed in the book of Hebrews? If yes, how and to what degree are they portrayed? If no, what are some of the divergences? This thesis attempts to answer these questions in an investigation for possible parallels of the Roman imperial cult (Caesar-Nero) in the New Testament book of Hebrews.
    [Show full text]